MEDIA NETWORKING

I just went to an event sponsored by BLOG OUT LOUD which inspired this entry. The blog, website, facebook... even twitter. We all need to pay attention to the roll these tools are playing in how we network professionally. Make sure you are diligent in not being left behind as this trend screams forward. I think this breaks down into 2 categories for actors. 1. Opportunities to create a buzz (get attention) and 2. Creating a living resume you can send people to. You don't have to do the first one... but the second one is critical. Every actor should have a personal website at this point. Iweb makes creating a website easy, and there are several other quick "website" services out there to take advantage of if need be. Headshots, resume, video reel, and contact info is all you really need. The easier the better. Casting directors are more diligent about looking at reels and visiting websites and it also helps your agent. It's just another resource to help "sell" you or market you.

I have my work on a big production company website (as a director), but I also have a more personal site that comes in handy. Many times I'll send people to that site first as it gives them an immediate impression of who I am and the kind of work I do. Also the personal site allows me to update things myself easily.

Creating a buzz is also good. I started this blog for both personal and business reasons. I was curious about the format, I wanted information (that I often teach) to also be available (or archived) online, and I wanted to bring attention to my headshot photography company. Read about Alexandra Raines on this blog as well... she created "alex'sinfo.com", another great example of someone helping others while getting attention as an actor. Most importantly, be informed about how people are marketing themselves and try and take advantage of it in your own career.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

DIRECTORS SWEAT IT OUT TOO!

Whether it's feature films or commercials, there is a selection process that happens where a studio, or advertising agency, are combing through reels, making conference calls, reviewing production companies (in the commercial world), and reading director treatments. I'm going to talk specifically about the commercial directors process since that is what I am most familiar with.

Ad agency producers seek out director reels and production companies to execute a campaign. The reels (now usually just links) come from sales reps, executive producers, or other contacts the agency producer may have. Each link is usually put together in a custom fashion for the project at hand. This was not the norm a few short years ago, but with the ease of internet it is now the expected. In a way, this the same as an actor's "first call"...or even headshot.

Eventually the ad agency selects approx 3 to 6 directors/production companies they want to speak with. The conference call for a director is like a "call back" for actors. This is where a director really has to shine and make an impression. Just like with casting, sometimes the simplest things can make all the difference and usually we (the director) are in the dark about what the agency is "really" looking for. (Sound familiar?!). Once the call is over, the director writes a treatment and the producer puts together a budget ("bidding" the job). We send this in and then we wait it out.

The preparation I do for a conference call inspired a comedic short film called... of course... "The Conference Call"...take a look! Anyway, the point of this entry was to help actors understand that the director judging you is no stranger to being judged. Not taking it personal is key, and I feel I become better at calls and treatments the more I do... even if I don't get the job.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

ALEX'S INFO!

I recently became aware of actor Alexandra Raines. She has started a service for actors that I think is great! It's called Alexsinfo.com, and it's a free daily email for actors with the best information and resources on everything from castings, classes, marketing to traffic and lifestyle. Many of the resources offer discounts and specials exclusive to alexsinfo.com members -all in the hopes of helping actors build their careers. The mission of Alexsinfo.com is to keep you up-to-date on all the information, resources and research you may not have time to do in a way that is accessible and easy to understand. Alex enjoys sharing information and referrals about all the products and services available in and around Los Angeles - as well as giving you the opportunity to share your services. To check out the website go to www.alexsinfo.com and sign up to receive daily emails.
This is a wonderful example of being proactive in your career, and at the same time doing your best to help others. Alexandra's Karma must be in a strong orbit! I urge everyone to sign up, or at least check it out.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

HOSTING WORKSHOP

As a director I've shot many "spokesperson" campaigns. It is a specific skill, different from traditional character acting. The ability to look into the lens and connect with people is arguably one of the most difficult thing an actor/personality must do.

If you are considering a career in hosting, or want to seriously brush up on your spokesperson skills (for commercials etc.) then definitely check out this workshop. The quicktime above is a great introduction to the program and instructor (television/news personality Suzanne Sena.) Her reel fricken rocks! When a workshop, class, or seminar is taught by someone who is out there doing it... you always get so much more from the experience.

The workshop itself is offered by Carolyne Barry who writes:

"For many years, I have often been asked by students and agents about offering a HOSTING WORKSHOP. It was a natural extension of the programs I currently offered. But, in order to present one that would provide the best training available for this expanding venue, I had to:
• Offer an ultra qualified, kick-ass teacher
• Create a program that would offer more than anything that was
currently available. One that truly produced results and was not
quick overview of information.
• Only enroll the right number of students to give every person enough
time on camera.
• Offer eight workshop sessions that would give the students enough
practice time to own the training they receive.
• And offer it all at a fair price.

Well, I am ready. I am very excited to announce the addition of television host, news personality and teacher. Suzanne Sena to my staff" - Carolyne Barry

For more information clicke HERE. It starts Sept. 23, so if this is your thing then go for it!

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

A CASTING POV

Thankfully I've been busy, and I wanted to share a project i shot back in June. Lately branding, or online material is becoming more important... or JUST as important as any 30 second broadcast commercial. I've shot a few projects now where we are doing commercials, webisodes, and even print campaigns all at the same time! I personally enjoy this trend because I get to work outside the :30 format.

For actors, this means I've been casting projects where there ability to improv and be creative on the spot. We cast the following spot by asking them questions about their invention, and then having them read the commercial script. I've included the original casting session along with the finished branding video... You can see how free form the casting really was. It's also helpful to see who DIDN"T get picked (Which I do whenever I teach) but that's a little harder to pull off on a public blog. Enjoy!





Got HEADSHOTS?!

WHAT CASTING DIRECTORS SAY

A few years ago I interviewed several casting directors in preparation for my seminar. I found it very interesting, and take note of what feedback over laps. They are talking about specifically about commercial auditions... Here's what they said:

MICHAEL LIEN
(Lien Cowan Casting, now retired)
“Commercials are the grassroots of our industry. I have seen a lot of successful actors go on to do series and feature work. I think this is because commercial actors learn to sharpen their instincts, allowing them to pick up things quickly and make smart decisions. Thus, when they go in to read for a series or feature they have been seasoned by the commercial auditioning process. It’s really a great proving ground”
• Know when to leave the room, don’t ask to do things over and over again.
• Listen before you start asking questions.
• Make sure the head shot still resembles you.
• Don’t lie on your resume
• Don’t list your commercial credits on a resume (it will work against you)
• Be able to improv or tell an interesting story when casting for commercials that have no dialog.
• If you have a physical tick you do really well, make it work for you as much as you can.

ROSS LACY
(Ross Lacy Casting)
“It’s important actors remind themselves to listen to direction. Many times they get all caught up in the excitement of what their doing and forget to listen first.”
• When auditioning, stay in the moment and try to keep it real.
• Treat a commercial audition as if going up for a film role. Take it seriously, because commercials are deceivingly difficult.
• Remember, we’re looking for one or two key seconds in a performance that hit a certain emotion.
• Read through the script and try and visualize the entire commercial, from there you can break it down and start to make choices.

BRIDGET MCBRIDE
(McBride Casting) an ex-actor, Bridget has been casting for over 10 years)
“You need to have a life beyond acting. I can always tell the needy, self absorbed people from the interesting ones. Work on yourself, pursue other interests, try and be a well rounded person and it will show up in your audition.”
• This sounds trivial, but please be on time. It only takes a couple of people showing up late to throw the entire day out of sync.
• While your sitting around, instead of whining about it, use this time to PREPARE and GET FOCUSED. Overall, people “wing-it” way too much. Don’t be one of them
• Go to Commercial classes.
• It’s so important to develop your improv skills
• After a callback, don’t take it personally

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

HIT THE GROUND RUNNING

Carolyne Barry, long time actor and teaching guru, has just published her book "Hit The Ground Running". I'll give a more detailed review once I've actually read through the book, but in just looking at the website, and knowing Carolyne like I do, I can easily say this would be a great investment for actors... ESPECIALLY new ones.

Many of you know Carolyne already, through reputation or taking one of her many classes. I've had the pleasure to teach for her on occasion, and every now and then will actually sit in on a class to brush up on my directing skills. Her experience in the business, and teaching the business (both the craft and everything else that goes with it) is extensive to say the least. She has put 5 years into writing this book, and all of her vast experience, so check it out!

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

AUDITION CREED

This is something I used to include in my seminar booklet... I thought I would post here. The idea was you could review this before your audition to get in a good head space. The biggest point here is something I've mentioned in previous posts regarding rejection. It says "I know the people making the decision are not rejecting me, they are simply picking someone else." Sounds so basic, but if you start taking this personally it will drive you crazy!

Here is it.. the "Audition Creed"

• I’ve taken the time to break down the script, make choices, dress for the part, I’M AS READY AS I CAN POSSIBLY BE.

• When I walk into the room, I need to let go of my preparation and TRUST the people I’m working with. They want me to do well because it makes them look good, so we are all working together for a common goal.
THEY ARE ON MY SIDE!

• I need to LISTEN to the people in the room first. This means not being rigidly attached to the choices I made in preparation and taking adjustments in stride.

• The reason I’m an actor is because I am passionate about it, I love to do it. I’m here to PLAY and BE CREATIVE. This is my time to block out the rest of the world, practice my craft, trust my instincts, and HAVE FUN.

• I’m grateful for this opportunity, because every time I go through the casting process I grow as an actor. Regardless of whether or not I get the job I know commercial auditions are the stepping stone to series and feature work.

• I know that there are many reasons I may not get this job that have nothing to do with my ability as an actor. I know the people making the decision are not rejecting me, they are simply picking someone else. Therefore I will not take their decision personally or dwell on things that are out of my control.

Hope this helps...

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

YOU'VE GOT 10 SECONDS

Due to the fact I've thankfully been working a lot (directing/editing), the blog has been a little neglected... so I'm going to do some catching up the next couple of weeks.

OK, I say this at all my seminars, and people are usually not happy to hear this. I usually know within 10 seconds if an actor is going to work for my project or not, at which point I'll either watch it all the way through OR press "SKIP" to the next person. This makes your first impression critical. In some cases, you simply don't look right for the roll... other then being aware of your type and what you go out for, this is beyond your control. However what is in your control is the quality of your auditions. Moment Before (in commercial auditions anyway) is the life you create before someone says action. It could be a physical thing, or maybe even dialog if it feels right. It gives you the opportunity to be creative and collaborate a bit with the script.

When I teach, I show people a casting tape of 5 women who were auditioning for the roll of "ZOO GIRL", a girl who works at the San Diego Zoo ticket booth. The script says "It's nighttime at the zoo, and there is a party like atmosphere". Most chose to ignore this set up, and stood in their "booth" waiting for the dialog to start. a couple of women (out of the 80 who auditioned) chose to break into some kind of dance, as if at a party. One of these two got the roll (For that and other reasons), and is a great demonstration of how you can stand out if you create the right opportunity for yourself.

It's hard to give examples in writing... but I think you get the idea. Remember the first 10 seconds are critical, and try your best to create a life before the actual dialog starts.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

RESEARCH WHILE YOU WAIT

I just taught another class for Carolyne Barry, and in the Q&A someone asked me about researching the director. In reality, you probably will not know who the director or production company is until you are in the waiting room. However, thanks to Iphones, and blackberry's and all that PDA stuff, chances are you can pop onto the internet and view a campaign, or a directors reel if you are a little resourceful. I would recommend spending most of your time prepping for the audition via the more traditional methods... but if you have the time, then why not.

Sometimes (not always) on the casting board you can see who the production company is as well as the director. If it's not listed, and you feel comfortable, then you can certainly ask the CD as well. Your best chance of seeing a commercial directors work is via the production companies website (which is usually a google away).

Just like Actors have "types" so do directors. There are all kinds of specialized directors... comedy, car, kids, food, sports, testimonial, spokesperson, fashion... etc. Therefore, if you are able to view a directors work it may help you see the tone in which they specialize, and perhaps see why THIS director was chosen to do this particular campaign by the Ad Agency. Better yet you may realize the commercial you are going out for is part of a past campaign, and that campaign already has a look and a feel to it that you can draw influence from.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

WOMEN IN FILM

Several years ago... before Youtube and 24 hour film festivals... I directed my first short film. I had been editing music videos and commercials up to that point, so knew very little about the short film market, how to submit to film festivals and all of that. I read somewhere that the WIF was having a "Short Film" discussion, complete with industry experts at their next meeting. When I realized the WIF was "Women In Film" I hesitated, but then decided to call and ask if I... being a guy... could go there. Looking back, a rather brave thing to do I think, but off I went.

I remember learning quite a bit about short films, AND that being in a room full of strong, motivated women is... interesting:) There was a group dynamic I had not experienced, they were talking about men, and men in the business with such openness... I felt at one point they were going to see me huddled in the corner and attack! It was all in good fun, and the short film I directed (Shooting Star) went on to screen at Sundance and all over the world!

ANYWAY, this is how I came to know WIF, and felt any woman in film would find it a great resource. Check it out...
Women In Film

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

REJECTION ISN'T REJECTION

After 2 callbacks, Tim did not get the gig... he does not know why. He complains to his scotch, but it's of little comfort. Soon Tim will be angry, bitter, and drunk wandering around the streets wondering why he wants to be an actor.

Rejection in this industry is not really Rejection. What I mean is, WE NEVER "REJECT" YOU... WE SIMPLY DON'T PICK YOU. There is big difference, and if you realize this you gain helpful perspective on how casting decisions are made. One of the most liberating things for an actor is to watch a casting tape of other actors. It doesn’t matter if it’s for a diet pill or a guest appearance on ER… once you experience what it’s like to watch so many different people approach the same material, you realize how subjective it all is. Every person has their own look, vibe, hair color, skin color, etc. No two actors come across “the same” way. In fact many times the choice comes down to minor details and preferences..

Your goal is to get a callback. That means that you connected with someone on some level and they want to get a closer look. If your not getting a healthy percentage of callbacks then something is wrong. Either your going out for the wrong parts, or you need to work on your acting skills. On the other hand, if you find yourself going to a fair amount of call backs and not quite closing the deal…. It could be any number of things beyond your control (see earlier entry "why didn't they pick me") So remember, that feeling of rejection is an illusion you are investing in... there is nothing personal in any of this... it simply was not your job to book.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

WHERE IS THE LENS?

This is a quick entry, to be filed under obvious BUT important. Always be aware of the camera and your position/eye-line in relationship to lens. If you are doing an audition solo, and they don't give you a specific eye-line, then pick a point as close to the lens possible without actually looking into it. If you are off to one side of the camera, even slightly, then aim your eye-line across the lens. In other words, if the camera is slightly to your left, then send your eye-line to the far left of the lens.

In a scene with another person, always angle yourself as much as you can towards camera, send your performance into the lens. Basically think about how much more powerful a close-up front shot is to a medium-shot profile. Obviously you have no control over how the shot is framed, but the energy of your performance is always more powerful the tighter the shot, the closer the eye-line. Keep that in mind especially on your first calls where eye-line direction from the camera operator or casting director is often not mentioned.

Also in a call back, directors will notice if you seem oblivious to the camera... facing away, or looking way off lens. This is not all that uncommon, especially when doing a scene with another person... however, it does scream "Newbee". All common sense, but easy to forget.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

HEADSHOT SPONSOR

click HERE
Shameless plug in the middle of the blog :)

ACTING WITHOUT DIALOG

I get asked a lot about the "no dialog" audition. The question is usually "What the hell am I suppose to do?". Non dialog auditions usually break down into two categories... 1. "Just Action" and 2. "Getting to know you".

"Just action" is something like... "Ok you sit down, turn on the TV... and you're surprised at what you see, not shocked... but just surprised". The best plan of attack on things like this is to ask yourself "WHERE AM I". Yes, a standard acting approach... but seriously... "WHERE ARE YOU?" And answer it down to the most specific detail. Create a 4th wall with substance, with meaning, make it crazy real to you. Subtle is NOT easy, if you are in your head it will not feel genuine. So create in great detail the room, is it carpet, or wood floor, what kind of TV is it, is it mounted on the wall, what's around it, are you on a couch, how does it feel, is it saturday afternoon, is it late evening, ALL of this is important. Then just exist in this world you created... don't TRY to exist in it, just exist in it.

When you are at home, what is the thinking process when you walk over to the couch and turn on the TV? For me, there is no thinking process... other then maybe , "I wonder what's on". Everything else... walking across the room, sitting down, picking up the remote, is on autopilot. I don't think at all about it... that's the key.

The "Getting to Know You" is when the action is so basic, they don't even bother having you do it, rather they ask you a bunch of questions to get a feel for who you are. This is your chance to impress, and any improv training really shines here. So be ready to be personable, fun, have a story, be interesting. If you haven't, take an improv class of course.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

LARRY MOSS IN ACTION

My last post was about Michelle Danner who is the Executive Creative Director at the Larry Moss Studio. Well, here's a GREAT clip of Larry himself I stumbled onto the other day. I've had the pleasure of interviewing Larry Moss a couple of times, and watching him work on one occasion, he definitely has some kind of Yoda thing going on that can't be denied. Check it out...

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

Got HEADSHOTS?!

MICHELLE DANNER INSPIRES

Michelle Danner is the executive creative director at the Larry Moss Studio. I've known her for years now, and have always been a fan of both her teaching technique, and her ability to push projects, actors, writers, artists to the next level with their work. When Michelle digs her heals in and focuses on something, it gets done! And it happens in the REAL world, in the industry, not just in class, or a one time showcase... she is about results that make careers, events, movies, theater productions happen.

A few years ago when Edgemar was officially opening their new space, Michelle asked me if I could help her film the event. I suggested maybe interviewing people, sort of "press junket" style in the back alley with a couple lights and a backdrop. Well, I didn't realize at the time who was showing up to this thing... it was surreal. I interviewed, in no particular order, Sally Field, Christian Slater, Steven Spielberg, Helen Hunt, and one of my favorite actors of all time... Julia Ormond to name just a few. It was bizarre to sit there and watch one high profile person after another get ushered through this banged up door into the alley for their interview. (you can see some of this footage on their homepage intro-video)

My point is, Michelle is hooked into an amazing group of talented people, and seems to maintain this relationship via the respect they have for her creative vision, and the many forms it takes on via the Larry Moss Studio. The best part is, the thunder she creates is very accessible to her students, they simply have to step up, show some initiative, and grab it.

I'm helping them put together a promotional video right now, that will feature little gems of wisdom like the video posted here.
Please take a second to get familiar with the Larry Moss Studio. There will be much more about Michelle in posts to come!

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

READING the COMMERCIAL SCRIPT

The commercial script is a tricky beast. It's so damn short... sometimes there are no lines, just reactions. As an actor you are presented with the challenge of making something out of very little. Where do you start? What do you do?

Step One... read the script. I'm sure many of you will say "Thanks a lot genius!", but I want to talk about HOW you read the script. First of all , take a second to appreciate the fact that this commercial script (despite being only 1 page) represents a lot of work. The advertising agency pitched and re-pitched... wrote and re-wrote for who knows how long. Certainly there are projects that get slammed together, but usually many hours have been spent creating the campaign you have in front of you. It represents a lot of commerce, and thousands... if not millions of dollars are invested in bringing this script to life.

Because there is so little information, you need to read EVERYTHING at least 3 times. Don't judge it, or make decisions about your acting yet, just read. The titles, the voice over, everything. If you read it once and miss something, (it could be only one word), it may effect how you understand the story and what your plan of attack will be. This happens more then you think, as a matter of fact, I used to fall into this trap as well. As a director, when I first got a script I would fly through it, and instantly start thinking about how to shoot it. Then at some point, I would realize I misread something that was critical to really understanding the full story or purpose. So, giving it a careful read, MULTIPLE times is critical.

Now, try to picture what the commercial will look like. Is it part of a campaign you're familiar with? What is the message... what is the tone? What is the product? Try to SEE it put together in your mind.

At this point, you are ready to start playing with the copy and your character. Sounds pretty basic, I know, but taking a little time with the script, showing it "more respect" if you will, can make all the difference in your audition. I'll just leave it at that... much more about auditions in past posts, and posts to come.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

DIRECTORS ARE FROM MARS

Directors come from different backgrounds, writers, art directors, special effects supervisors… or in my case, well... I played the drums. Therefore, many directors do not know how to talk to actors. It’s simply not their world, they never took an acting class nor pursued acting as a profession. Therefore, as an actor, you may find yourself with no feedback, OR too much detailed feedback from your director. (I'm speaking of commercials, but I'm sure it applies everywhere)

If a director says little to you, it probably means you are doing fine and they feel no need to mess with a good thing. This does not mean you can’t ask questions, or maybe explore on your own… depending on who the director is of course. On the other hand, you may find yourself in a situation where there are so many details being thrown at you, it gets overwhelming. Your acting starts to get very detached and robotic if you are not careful.

My point here is that YOU are responsible for your acting. YOU are your own department, and directors will rely on you to be an expert in your field, just like they rely on their DP’s, AD’s, Production Designers etc. If you are expecting the director to sound anything like your scene study teacher, you will most likely be disappointed. There are exceptions to this obviously, but certainly something to be ready for.

So what do you do when all attention is on you and nothing seems to be working? There’s no hard fast rules here, and all sets/ directors/ personalities are different, but here are some ideas. First of all, don’t panic or show your frustration. It’s just a problem, you simply have to work through it. If you are totally confused, then tell them you are confused and explain why. Try to keep it light and fun, at least within yourself. If you let the tension and stress effect you, things will only get worse. Be in the moment… listen… explore… and trust yourself as an actor to get there.

Moments like these are a test of your acting abilities in the REAL WORLD, not the calm acting class cocoons many of you (especially in LA) spend your time studying in… so embrace it and learn from it, even if it’s a miserable experience on the surface.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel

WHAT EVERY ACTOR NEEDS TO KNOW

Financial Core (or Fi-Core). I wanted to put this in here because the point of this blog is to help actors get work, and sometimes the unions designed to protect actors actually prevent them from capitializing on opportunity. They do so in the name of the greater good, but it's important you know your options. Many of you know about Fi-Core, but if you don't... please read on.

Financial Core is a tricky thing, in short, if you are a union member (of any union) and you declare Financial Core, it enables you to do non-union work without leaving or violating the terms of your union agreement. The only catch is you give up some union rights (to the best of my knowledge, health care and pension are not one of them), and may fall victim to people who want to put you on a guilt trip for not being a team player. To be fair, if everyone went Fi-Core the unions would lose their leverage, so you can see how the issue of financial core can draw strong emotions from both sides of the fence.

Why Financial Core? I would probably avoid it if you can, but situations may occur where you need to give it hard look. For example, let's say you are offered a lead roll in a movie that will shoot in Thailand. Originally the producers were going to work with union talent, but realized to make it happen within their budget, non-union talent would have to be hired. They call you, or your manager up, what do you do? There are three options, 1. decline... 2. do it and hope no one finds out (I would not recommend this) or 3. declare financial core (if your union won't play ball with you or your producers). It's a personal choice, a choice you have to make based on your circumstances and where your career is at. That was a true story, and the actor actually turned down the work. I don't know him super well, but I remember his story haunted me. I'm not saying he should have gone fi-core, but to have to turn down that opportunity (when you are a struggling actor) is certainly a drag.
I think this logic also applies to what the union is doing (or isn't doing) to create a job friendly atmosphere. Threats of a strike (that drag on month after month), or long drawn out negotiations are things you have no control over. However, increasing your opportunities by enabling yourself to audition for non-union work is.

Google "Financial Core" and read up on it yourself. You'll notice there are very strong PRO and ANTI articles out there, along with the nueteral one's, so I would read several and ask around. Also, BEWARE, most articles issued by a union will try and scare the crap out of you. They put a nasty spin on it and imply you are committing career suicide. GET ALL THE FACTS, educate yourself, try and talk to a fi-core actor, consider your personal situation, and make the best decision for YOU.

To be clear, I'm not anti-union, or pro fi-core. I simply think all professionals need to be aware of their legal options, especially when opportunities come knocking on your door.

- Scott Young

Commercial Success/ Shoot a Scene. Edit Your Reel